such a one cannot hear it; that
"The soul, with nobler resolutions deck'd,
The body stooping, does herself erect."
But taste, whether in or out of the body, is a facultyTaste often wanting or assumed. for want of which many ambitious thinkers have in the end failed as poets. It is a sense, however, the functions of which are very readily assumed and mechanically imitated. At periods when what are called false and artificial standards have prevailed, as in French and English letters from 1675 to 1790, the word "taste" has been on every one's lips, and the true discernment of beauty has been supposed to be supreme, when in fact merely the crown and sceptre of taste have been set up and its mantle stuffed with straw. At this very time art is suffering everywhere from an immense variety of standards and models, and our taste, in spite of the diverse and soulless yet attractive productions of the studio and the closet, is that of an interregnum.
Assuming that the artist's conceptions are spontaneous4. Poetry as an expression of intellectual Thought. and imaginative, their working out brings into play the conscious intellect. He gives us thought, building up masterpieces from the germinal hint or motive: his wisdom is of so pure a type that through it the poet and the philosopher, in their ultimate and possible development, seem united. It is the exclusive presentation of thought and truth that makes poetry didactical, and hence untrue in the artistic sense.
